![]() Lamar doesn’t exclude himself from judgment, but instead underlines the mercilessness of Christian righteousness. Vividly, cinematically drawn, its descriptions of towers crumbling, oceans drying and rapists fleeing – as well as its promise of an end to war, discrimination and superficiality – capture terror and justice in equal measure. Lamar’s approach to religion has always been a conflicted mix of guilt, self-abnegation and salvation Untitled 01, a depiction of the end of days, feels like a logical conclusion of sorts. Untitled 06 underscores the radical self-love of Complexion (A Zulu Love) if anything, its acceptance is even more generous. All, though, provide a fascinating insight into Lamar’s creative process, whether extending his themes or pivoting to new angles on his preoccupations. Its eight untitled tracks were mostly recorded during the To Pimp a Butterfly sessions in late 2014, and range from casual studio demos to fully fledged, gorgeously produced songs as fleshed out as anything on the album they were cut from. Its descriptions of towers crumbling, oceans drying and rapists fleeing capture terror and justice in equal measure ![]() ![]() Last year’s ubiquitously lauded To Pimp a Butterfly was densely packed with ideas to the point it felt as though it was on the verge of brimming over – and this week’s surprise release, Untitled Unmastered, catches some of that overflow. F ew artists’ collections of offcuts would open with an epic vision of a divine, apocalyptic rapture, but Kendrick Lamar is in a period of extraordinary creative fertility right now. ![]()
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